Category Archives: #33

#33

Show 484: Fernando Fadigas, Inland, for Rádio Zero Lisbon

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This soundscape composition is divided in two parts and is part of my sound research at the Faculty of Fine Arts in Lisbon during 2013.
Undercurrent is about water sounds and is taken from an audiovisual installation shooting in a river showing a journey between two points A to B, after a deep dive inside an undercurrent river.
InLand is a piece about earth sounds space and matter but also about internal and external space. A representation of different acoustic layers and sound environments. In this piece i processed different noises and samples taken from the interior of the earth. Many recordings with a real buried microphone and other substances like stone collisions, river undercurrents, sea waters, sand, fire, ashes, organic debris, frozen microphones and other deep acoustic phenomenas. It’s also a live improvisation and noise modulation of a boiling experience taken from a portable laboratory set up on stage. For sound processing i used Laptop, Ableton Live, Max/Msp, analog circuits and synthesizers like Mute Synth and Korg Monotron Delay. Premiered at EMS13, Electroacoustic Music in the Context of Interactive Approaches and Networks at CGD-Culturgest, Lisbon 2013.

Fernando Fadigas is an audiovisual artist and noise musician. With preferences for collective works, site-specific projects and sound improvisation, their individual works lie in the relationship of sonic arts and image with exploitation of minimal soundscapes, noise, field recordings and the acoustic properties of certain spacesMember of the art collective “Pogo” since 1998 producing and developing soundtracks for Theatre, Multimedia Performances or Interactive Installations and also curating music and art events.

www.fernandofadigas.com

#33

Show 483: Transmissions, by Lona Kozik for Soundart Radio

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Part 1. Imagine that we are speeding away  from the Earth
Part 2. Music of our Spheres

Transmissions is a radio piece that seeks to listen to the past. It is a collage of transmissions voyaging through human broadcast history and reaching past our own galaxy. The first part, Imagine that we are speeding away from the Earth, is based on the notion that everything we broadcast is still traveling from our planet out into space. As we move forward, we can hear our past. This section includes transmissions of all kinds, including Skype transmissions, mysterious numbers stations, broadcasts of rocket launches, interviews, songs, newscasts, popular songs, television themes, public service announcements, etc. The second part, Music of Our Spheres, uses recordings made by scientists interpreting readings from the Voyager and Cassini space probes. We hear sounds emitted by Earth (distinct whistlers shooting past and a “hiss” that sounds like breathing), Mars (small and metallic), Jupiter, and Saturn. The very last sound in the piece is the sound of the Big Bang as interpreted by Professor J. G. Cramer of Washington State University.

Lona Kozik is a pianist, composer and radio maker. “I play things. I write things. Sometimes I do both at the same time. Sometimes I play the things I write, but often times, I don’t.”  For more information, go to

http://radiopostcards.tumblr.com
http://lonakozik.wix.com/lona-kozik

#33

Show 482: Tksitevy – Suzy Vincens for Radio Campus Bruxelles

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“Tksitevy” de Suzy Vincens

Une première expérimentation d’un work in progress, présentée lors du festival Monophonic 2014 de l’acsr à Bruxelles, à l’invitation de Radio Moniek. Une performance polyphonique d’improvisation à partir d’une partition-poème de Suzy VINCENS.

Les partition-poèmes sont des partitions d’écoute (qui racontent une écoute, qui proposent une possibilité de notation d’une écoute avec des mots, des phrases, des silences).
Ce sont des images sonores à lire, à interpréter, à ré-interpréter par des formes multiples.
Ces partitions sont des départs d’écritures, d’interprétations vocales, instrumentales, etc.
L’interprétation est très libre, on peut développer toute la partition ou bien juste une partie, une séquence.

La partition-poème interprétée est issue de l’écoute de la pièce sonore de Christian Zanési, Saphir, Sillon, Silence.
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“Tksitevy” from Suzy Vincens

A first experiment of a work in progress performed live at Monophonic festival 2014 in Bruxelles (acsr) curated by Radio Moniek. A polyphonic improvisation performance from a score-poem Suzy VINCENS wrote.

The score-poems are listening scores (that tell a listening, offering a possibility of scoring a listen with words, phrases, sentences, silences).
Those scores are departures of writings, interpretations of vocals, instrumentals, etc.
The interpretation is very free, the entire score can be developped or just a part, a sequence.

The voice performers are Aurélie LIERMAN, Catherine BOUCKENAERE, Laure GATELIER and Julien BIBARD.
Electronic music and violin: Suzy VINCENS
Composition: Suzy VINCENS

#33

Show 481: Variance V – David Merlo for Radio Grenouille

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Variance V is a stereophonic retranscription of the 8 speakers broadcasted sound installation Variance IV (described below).
The physical and multicasted space of Variance IV’s sound resonance becomes compacted in an abstract and frontal space.
In Variance V sound materials and landscapes superimposed in this way then behave like a superimposition of senses and meanings which interfere on each other until their disappearance in a hanged-time space.

Variance IV had been presented within the framework of the collective exhibition Archist International, Cités Hétérotopiques proposed in Marseilles by Art-cade, Grands bains douches de la plaine Gallery from 21st to 26th of april, 2014. This exhibition showed a selection of artists, architects and social players works, intentions and proposal inscribed in the urban space.

The Variance IV dispositive had taken his place in this exhibition with the intention to use the sound potential which such an event could reveal in the resonant space of the Art-cade Gallery and then process and re-casted it in the same resonant space, using 8 non-synchro speakers.
The processing gesture, which exclusively took place in situ and during the time of the exhibition evokes notions like production, assimilation or relation to space.
Other personal and collective musical works had been injected in the dispositive during the process.
Variance IV is a sound installation dispositive elaborated and performed by David Merlo.

Scenography: Rémy Rivoire
Sound control room: Virgile Abela
General control room: Thomas Royez

Credit photos : Chloé Blondeau

[FR]

Variance V est une retranscription stéréophonique de l’installation sonore Variance IV (décrite plus bas).
La diffusion en 8 points ainsi que l’espace physique de résonance du son de Variance IV se retrouve compacté dans un espace abstrait et frontal.
Dans Variance V, les paysages et matières sonores ainsi superposés et enchainés dans le temps se comportent alors comme une superposition de sens et d’évocations se parasitant les uns les autres jusqu’à leur disparition dans un espace où le temps semble presque se suspendre.
Variance IV a été présenté dans le cadre de l’exposition collective Archist International, Cités Hétérotopiques proposée par Art-cade, Galerie des grands bains douches de la plaine du 21 au 26 avril 2014. Cette exposition présentait une sélection de projets portés par des artistes, des architectes et des acteurs sociaux, comme autant de propositions et d’intentions s’inscrivant dans l’espace de la ville.
Le dispositif Variance IV a pris place dans le cadre des rencontres Archist International dans le but d’exploiter le potentiel sonore que l’événement pouvait révéler dans le lieu de la galerie Art-cade, pour le traiter et le réinvestir dans le même espace.
Le geste de création sonore, qui s’est déroulé exclusivement in situ et durant le temps de l’exposition interroge les notions de production, d’assimilation, de rapport à l’espace.
Ont été ajouté aux matières collectées sur place des matières provenant de différentes productions instrumentales collectives et personnelles.
Variance IV, dispositif d’installation sonore élaboré et performé par David Merlo.
Scénographie: Rémy Rivoire
Régie son: Virgile Abela
Régie générale: Thomas Royez

Photo credit : Chloé Blondeau